I wanted to let you all know as mentioned in the previous post. I’ve been accepted to host a panel at Sausomecon anime convention. The panel is on Josei animated works. Not only that but I am hosting a second one on the “Driving Force Behind Episode Direction: What makes a best directed episode”.

It’s been awhile since I’ve posted anything but I would like to let my readers know I will be hosting a panel at an anime convention this summer. Focusing on my favorite genre “Josei”! This is going to be my first time hosting a panel and I am looking forward to it very much. If any of my readers would like to attend here are the details. I haven’t heard yet what day or time I will be presenting but I will let you all know here on the site.

This show’s framing is very good. The contrast color balance of yellow against blues and the white clouds add a clean look to Ameagari’s backgrounds and crisp line art to the movement of this series characters and background objects.

Kondo’s comedy is realistic, he’s a carefree manager with a lot of responsibility and many a times he messes up. Yui Nishida brings a fine point to Tachibana’s feelings about love and what makes her heart move. This episode teaches us that when you give up on something–you will always hold a special place in your heart for the things you don’t want to try for. In Tachibana’s case she is slowly spreading her wings and trying to find her something that makes herself be happy. In this case her track team and how she loved to run with her classmates on the team illustrates her timid behavior. A directorial choice with an inspired direction with this sequence as we see Tachibana running alongside a clear sky. The running sequence shows to Kondo how impressive Tachibana is but plays a toll on her injury. Takashi’s clumsiness with the plates was the backbone for this entire sequence to come crashing down literally. His hyper active personality is quite the difference to Tachibana’s shyness when she’s around Kondo. I really like how this Ameagari plays around with this ideas between vulnerable intimacy and tension with Tachibana’s frustration in the previous episode all while maintaining a sublime mood this show instills to its audience.

This past season we’ve had a lot of series about fantasy, supernatural and mecha anime that its nice to finally have a series so grounded in reality. This show strays away from abnormal jump out animation and highly expressive acted moments and opts for complacent yet complex cast of characters. Allowing this series particularly this episode to present so many identifying characterization moments in a such a short amount of time –Tachibana’s injury and her willingness to help others (ex. delivering the phone back to the customer) and Kondo’s worried nature towards her that all of these scenes are pleasant to watch. Tachibana’s injury doesn’t draw too much expanded attention to herself and that entire scene just rests carefully within the episode’s narrative. The acting is spot on–almost as if Kou Matsuo directed it. If any of you don’t know, Matsuo has a tendency to have his actors voice before animating a series [Red Garden, Natsuyuuki Rendezvous, Kurenai]. The voice acting is quite good in this because the visual presentation is treated satisfyingly subdued.

The make-up animation especially towards the later half of this episode creates a sense of nostalgia for Tachibana remembering her scar. WIT Studio has a habit these days of creating these well-polished watercolor closeup shots that look super warm on the screen and then there are these side-panel crayon like designs that enhance the details of this series’ characters in a more adult style. A true illustration put into an animated work! Both are incredibly beautiful and mixed with complementary colors that carry a romantic visual quality to it.

If there was one thing I would change it’s how little we see outside of the school, the workplace, and the cafe they travel to. I’d like to see a lot more expressive scenery within the structure of the story outside of these places!

PLOT: The protagonist 17-year-old high school student Akira Tachibana is a girl who barely expresses herself. She harbors a secret crush on Masami Kondō, the 45-year-old manager of the family restaurant she works at part-time.

Chief Animation Director: Yuka Shibata (worked at GAINAX in the 2000’s following much of the staff to work at TRIGGER. She left after storyboarding iDOLMASTER episode 17, then working for UFOTABLE where she was a character designer for the Majocco feature film. Now she does freelance work.)

Every once in a while a series comes along and sweeps you off your feet just by the first episode. It’s been well over a year and a few months since I have last posted anything. I will try and get at least a few posts out every once in a while.

Koi wa Ameagari no You ni has a unique premise–immediately after I heard it was receiving an anime adaptation I was intrigued. A relationship between a 45-year old man and a 17-year old high school girl. First thing is first I really like how this show doesn’t focus on sexual intentions. At the moment, Ameagari delivers a strong coming-of-age romance story. If you are a fan of the manga animation director Yuka Shibata does a faithful job at keeping with the source material’s art style.

Plus, the quality of this series is about the best out there. Dare I say it’s better than Violet Evergarden? That series has the usual Kyoto Animation style to it and while it does look pretty Ameagari has a charming tone to its overall presentation.

Akira Tachibana is a shy high-school student that clicks with a few of her friends and was once on the track team. This episode calmly introduces us to its cast with a strong focus on sound effects and the choice to not heighten the music score. Tachibana works at the cafe her crush (Masami Kondo) manages at–and we quickly get the idea that she is head over heels for him. Masami Kondo on the other hand is a carefree man and we see that when he sees his old self in how he yearns for romance.

The very first moment is spectacular because it establishes an air to how this series will handle itself in telling a love story. Framing plays a large part in this. Akira’s beginning the next chapter in her life–the sharp attention to details and incredible direction key in this idea by showing a bit of her past in a subtle way. This show masks a lot of her background on the track team while at the same time hiding her emotions about it all. The great part about this is he doesn’t show it–neither does he realize it himself. The introduction of his son plays with the charm of this show by sliding in some comedy and Akira’s interest in him. Also lying down some groundwork for the two of them to be couple material later on in this series.

That second half was directed wonderfully! Especially when Akira remembers how she first met Kondo and how this is depicted by the shirt he left on the chair! Great visuals, emotionally-charged music and a nice way to end it–with a comedic scene between the two of them!

This opening sequence is fantastic! The very beginning represents spreading your wings and discovering your dreams. How should Akira act around him? Akira shows her personality in a big way through this entire sequence–from calm and shy to extremely expressive. The change of clothing acts as a tool of excitement for her. She wants to express her feelings towards him and this comes across nicely with the dancing animation. The use of bright colors was a strong and smart choice for this entire opening! A fun fact the scene towards the end showing heart fragments to each other was animated by Chikashi Kubota. An animator for feature film A Letter to Momo and some of the explosion sequences to Space Dandy. The heart fragments combining into one was an entirely different animator–Fumiaki Kouta. As for Kouta is known for animating a lot of sequences of JoJo’s Bizarre Adventure. A great animator that uses a detailed approach on effects such as fire, liquid and smoke during fight sequences.

A bit of background behind the music group Honeyworks. They first got their start on streaming service site, Niconico since 2007 using the Vocaloid system. To this day they still remain active on their channel. They’re a circle of performers consisting of composers Gom and shito and their illustrator Yamako. The guitarist Oji (Kaizoku Ou), illustrators Mogelatte and Rocoru act as support members. The style of music is rock songs with a positive form to them. The band also writes light novels based on their songs. as part of their Confession Executive Committee Love Series. As for this song it’s particularly bright, remaining in their style from their previous works with a rock-pop sound using Chico’s voice with her fantastic vocal range!

ED: “Ref:rain” by Aimer

Directed by: Ayumu Watanabe

Storyboards: Ayumu Watanabe

Animation Supervisor: Chiaki Kumakura

This is by far one of the best songs that Aimer has ever done. I may be biased here because I don’t think there is a single song of hers that I don’t like. This song translates to this series’ story extremely well. The lyrics and piano hits a tender view on love with beautiful visuals to match it! The line art of Akira is stunning!

PLOT: The protagonist Rei is a 17-year-old professional shōgi player, who lives by himself, not having a real family, and has scarcely any friends. Among his acquaintances is a family, which consists of a young woman, Akari Kawamoto, and her younger sisters, Hinata and Momo, who also keep several cats. As the story progreses, Rei deals with his maturing as a player and as a person, while developing his relationships with others, specially the Kawamoto sisters.

Animation Production: SHAFT

Directors:

Akiyuki Shinbo

Kenjiro Okada

Series Composition:

Akiyuki Shinbo

Fuyashi Tou

Character Designer: Nobuhiro Sugiyama

Original Creator: Chika Umino [ Honey & Clover]

Music: Yukari Hashimoto

Episode 1 Production Details

Episode Director: Kenjiro Okada

Storyboard: Shinsaku Sasaki

Script: Yukito Kizawa

I decided to change things up a bit and not post so much information on production staff regarding previous anime they’ve worked on. Hope you all enjoy it!

One of the most anticipated series of the season finally arrives! This adaptation is quite different than what I expected from when it was first announced. This turned out to be quite a solid piece of work.

An incredible use of sound and SHAFT uses creator Chika Umino’s slow-paced story to its advantage with director Akiyuki Shinbo at the helm! Per Umino’s request! From the trailers and now this first episode I can tell that SHAFT put a lot of restraint on how they typically animate their shows like the Monogatari series. The first half is a beautifully animated and very subdued long morning for the protagonist Rei Kiriyama. SHAFT certainly was the right choice in this because they were able to breathe life into Rei’s dark objectified view of the world and flip it with a superb second half. The animation is simply designed–using a solid palette structure for its backgrounds. At first glance this isn’t an anime with a large budget like what we’ve been seeing with Yuri!!! on Ice! , but when you see this episode you can clearly get a clear indication that a lot of time was spent on the direction of the animation. Closeup shots of objects (especially the drinks) and facial expression techniques. The most important develop of this show is through its use of sound effects! From the very first scene it’s clear that there is a certain level of discomfort in Rei’s home. He’s internalized all of his emotions (if he has any) and through a very smart stylistic choice in visuals and sound direction that Rei is suffering. Without the addition of music until the shogi match illustrates a larger picture that Rei enjoys his isolation.

I think it says a lot when a series chooses little dialogue to capture an audience into its narrative. We don’t know the man he’s playing is his father until he sees a news report later on from a tragic unrelated event. Sound was crucial here–the report established Rei’s disconnect from his own circumstances perfectly!

This transitioned nicely into the Kawamoto family’s introduction. Bubbly music score and strikingly bright animation. Hues of pinks and yellows represents how lively the family is–the antics with the younger children remind me of 7-year old Naru from Barakamon. The animation in the second half of this episode reverts from the dismal and dark tone that Sangatsu no Lion originally went for! You either like the style or you don’t. 3-Gatsu no Lion is different than what we’re used to seeing with shows like Honey & Clover.

Akari Kawamoto, the oldest of the three sisters notices Rei’s disconnect from society–it is seen when she, right after Hinata had texted him, requests that he pick up vegetables for the dinner. I like how this show doesn’t force the interpersonal relationships down our throats–we given small details in doses. The news report, the text messages, even by the end of this episode we see that Rei is gradually crawling out of his shell through the use of shadow effects and dream-state imagery.

I’m actually quite glad that this premiere didn’t shove Shogi matches to explain his character in-depth. Using a visual narrative and a down-to-earth family to establish his grounding in the world succeeds wonderfully! Posters of the manga on the train, Sangatsu logo on the grocery store sign. Perhaps SHAFT was taking the source material advertising a bit too literal. Although, it certainly is one way to do it.

Known for character acting and expressive animation particularly with line-work animation and hair animations.

Hironori Tanaka animated many of the opening scenes for this, notably, Rei’s drowning and the majority of sections featuring water sequences. A bit of history about this animator. He’s well-known in the world of sakuga having worked on some very popular series including School Days, Fate/Stay Night Unlimited Blade Works, Gurren Lagann, Bakemonogatari and one of my favorites The Tatami Galaxy. I believe what stands out best as his best work as a key animator is on director Kou Matsuo’s Kure–nai. Episode six to be exact–featuring a musical sequence. Sometimes there doesn’t need to be -in-between frames when there are many key frames used. Typically TV Anime do not produce this level of quality, however, there are times when this style of animation is utilized. This seems to be Tanaka’s style resulting in a very smooth flow to his sequences. He’s one of a few animators to be experienced and designs scenes with a purity to them . I say pure because he is able to draw 50 to 80 frames just to get a sequence nailed down properly.

Sangatsu‘s opening has very beautiful animation with varying shades of blues and other dark tonal colors that mesh together with a powered pigment influence. BUMP OF CHICKEN are back for the anime adaptation reprising their role in 3-Gatsu no Lion material with both a well-designed opening and ending sequence. They definitely delivered an emotionally-charged and well-written indie-styled rock song that matches these visuals beautifully. Rei is drowning without a pathway to follow in life–the visual cues with the doorways represents that he has many choices in life but doesn’t have a grasp on his own life yet. I really like how the song gives an uplift with the chorus and suddenly the animation changes to firefly visuals and the family that has taken a chance on him might just give him the push he needs to figure out his life goal.

ED: “Answer (アンサー)” by BUMP OF CHICKEN

Directed by: Ryosuke Nakamura

Storyboards: Ryosuke Nakamura

Animation Supervisor: Takumi Yokota

Key Animators:

Takeshi Ninomiya

Hiroshi Hamasaki

Akito Asai

Yumi Shimizu

Shigeru Fujita

Sawako Miyamoto

Extremely uplifting visuals. BUMP OF CHICKEN does a fine job in the music department here–using an emotionally engaging song about having the courage to trust another person and open up your heart. The visual style represents the color hues of Nisekoi‘s opening sequences. Beautifully drawn backgrounds! I really like the neon outline of Rei’s shadow as he’s flying through the air– the blue seems to represent that he’s finally found his courage.

Yuri!! on Ice effortlessly ignites an engaging story about figure skating with fluid animation, a compelling soundtrack, and a creative charm that works perfectly.

PLOT: Yūri Katsuki carried all of Japan’s hopes on his shoulders to win at the Gran Prix Finale ice skating competition, but suffered a crushing defeat. He returns home to Kyushu and half feels like he wants to retire, and half feels like he wants to continue ice skating. Suddenly the five-time consecutive world championship ice skater Victor Nikiforov appears before him with Yuri Plisetsky, a young Russian figure skater who is already defeating his seniors. Victor and both Yuris take up the challenge on an unprecedented Gran Prix series.

Animation Production: Studio MAPPA [Sakamichi no Apollon [Kids on the Slope], Teekyu, Zankyou no Terror [Terror in Tokyo], Garo: Honoo no Kokuin, Shingeki no Bahamut: GENESIS, PunchLine, Ushio and Tora, In This Corner of the World, Days, Hajime no Ippo: Rising [co-produced with MADHOUSE])

Taro Umebayashi (Composer for the following works: Space Dandy [credited as ‘milk’]

Episode 1 Production Details

Episode Director: Jun Shishido (Storyboard and Episode Director on Sakamichi no Apollon [Kids on the Slope] episode 6 / Storyboard on Kingdom episode 32 / Series Director and Storyboard on Hajime no Ippo: Rising episodes 1,2, 21 and 25 / Storyboard on Kiseiju: Sei no Kakuritsu episode 11 / Episode Director on Death Parade episodes 1, 6 and 11 / Storyboard on Death Parade episodes 3,6 and 11 / Director on Ushio and Tora‘s first and second opening sequences /

Storyboards: Sayo Yamamoto

Script: Sayo Yamamoto

From the director of Michiko e Hatchin and Lupin the Third: Fujiko Mine comes a story about competitive figure skating. Originally this project by Sayo Yamamoto was created as a music video entitled “Endless Night” for the Japan Animator’s Exhibition project from Studio Khara [Neon Genesis Evangelion] and Dwango last year. The visuals are stunning and some of the best this year has to offer. I knew this season would be huge considering that my favorite genre Josei [Sangatsu no Lion and Fune wo Amu] would be getting the spotlight but this knocked out just about every show that’s aired so far out of the water! Yūri Katsuki is a timid 23-year old skater admiring the talents of skating legend Victor Nikiforov. This episode does a fine job in establishing Yūri Katsuki as someone with much to learn. He’s more relatable than many male protagonists and adding to this realism are a few qualities that outlines director Yamamoto’s attention to characterization–he has problems managing his weight. Not to mention the effects of his dog’s death weighing on him too. Which I’m sure the anime will explore this avenue later on. His issues can clearly be seen as we see him crying in the bathroom and during the childhood segment alongside Yuko–he’s emotional and hasn’t quite come to terms with his loss at Gran Prix. Russian figure skater Yuri Plisetsky didn’t help the situation either. However, it does set up a nice rivalry between the two of them. We also see how affected Yūri is after losing at the competition through the episode’s stylistic direction affixed on Yūri’s own physical appearance. This is highlighted in his face perfectly. From a downward spiral to an ultimately uplifting skating performance that turns out very rewarding in the second half. As the story progresses we see that Yūri still has passion for figure skating. Spending the remainder of this episode at the Hasetsu skating rink and an unexpected encounter at the hot springs provides a solid start to the story.

The visual quality is superb–the cast is attractive and this comes across during the skating scene as well. Transitioning from Yūri and Victor Nikiforov’s skating performances. MAPPA and Yamamoto didn’t mess around with staffing for this anime. Picking two time Japanese national ice skating champion (now retired) Kenji Miyamoto to choreograph all of the skating scenes and the visual appeal is breathtaking. This isn’t the first time Miyamoto has choreographed either as he’s choreographed show programs for Japanese figure skaters Shizuka Arakawa, Daisuke Takahashi, Akiko Suzuki and Yuzuru Hanyu. Working as a coach and choreographer gives him a chance to shine on projects like Yuri!! on Ice!

The ice skaters move freely across the screen–extremely life-like. From hand gestures to flowing hair, Yūri and Victor’s curvatures and clothing embellish a style that’s physically charming and sensually engaging. In other words this is a fine example at what animation can achieve–a physical style that comes off more beautifully than to sexualize its characters through fanservice framing. What’s interesting is how artistic the entire sequence is–you can see his passion through his skating and this is depicted in his slimmer figure on the rink and top-notch performance. The animation choice during this scene was beautiful on purpose.

Off the ice, this show explores body language in a variety of ways–closeup shots of expressive facial animation and quick comedic caricatures capture ballet teacher Minako-sensei and Yūri perfectly. Hopefully, we will get to see a ballet performance from Minako in a later episode accompanied by a originally-composed Taku Matsushiba piece. This show couldn’t be all pretty like the previews let on. The goofy animations were done by famous Ranma 1/2 and FLCL animator Hiramatsu Tadashi. Reminding us that we’re still watching a Japanese anime. The background designs are a pencil-sketch style and very colorful. Object are highly detailed as well. These characteristics in animation transitioned nicely to the natural movements of the characters giving off the idea that there is beauty outside of ice skating.

Overall this was a beautiful piece of work that is an extension to “Endless Night”. One that I highly recommend checking out. A charming additional to the Fall 2016 Anime lineup!

OP: “History Maker” by Dean Fujioka

Directed by: Sayo Yamamoto

Storyboards: Sayo Yamamoto

Animation Supervisor: Sunghoo Park

Absolutely incredible. This is one of the coolest openings I have ever seen. Beautifully animated and on-point with the song by Dean Fujioka! I love his voice it’s very smooth sounding and his English is amazing. The song was written in cooperation with Taku Matsushiba. His style is astounding–this song is heavily inspired by classical and contemporary pop music. Providing a nice introduction in the anime’s backdrop–a modern day skating story. Very inspiring lyrics and visuals that are filled with huge amount of artistic passion!

ED: “You Only Live Once” by Wataru Hatano

Directed by: Yoichiro Hayashi

Storyboards: Yoichiro Hayashi

Animation Supervisor: Tadashi Hiramatsu

This was a surprisingly good ending. Really good. Coming off from the modern day musical styled opening sequence this one focuses on life outside of the ice skating element. An entire sequence of instagram posts of the famous figure skaters featured in Yuri!! on Ice! Looks like a sequence taken from FREE! but with a lot more heart to it. This ending comes off super smooth with the addition of an electro-pop sound for the ending song and seiyu Wataru Hatano’s singing. Enjoyed this ending a lot. Anyone notice the “bae” acronym? Very funny.

A show that masterfully created suspenseful drama. Productions were top notch–visuals by A-1 Pictures put this towards the top of my list as some of the best animation including its wonderful cinematography! Yuki Kajiura scored a dramatic soundtrack and it pays off! Especially with Kayo’s scenes between her mother and the incredible detail on object framing throughout the kids conversations at school!

We get a realistic perspective on how Satoru grows up through the eyes of a child. If it weren’t for Satoru’s mother, Sachiko, being such a strong parental figure (supporting Satoru’s decision on not abandoning Kayo) in this series I would not have rated this in the 90’s. It’s because of her we understand Akemi’s treatment of her own child, Kayo, and that Boku Machi is more than just a chilling murder mystery series. It is clearly seen by the first half of this anime that the director chose to highlight the friendships (Kayo x Satoru) rather than focusing on Satoru finding out who killed his mom [until towards the end of the anime]. We get a concurring theme of murder mystery that helps him get closer to Kayo–the animation and cinematography were important in getting this across. We see realistic scenes between the two of them from hand holding to birthday parties and while being in his 10-year old self it’s Satoru’s job to protect Kayo it also rewarding that he is learning new things about himself and why he couldn’t connect with his mom and friends before. His revival ability gives him the chance at a “do-over” and it’s amazing to watch it pan out. Offering us well-written inner dialogue scenes from heartfelt moments to comedic scenes.

Director Tomohiko Ito [Sword Art Online] cut out a lot from the manga and still managed to give us an ending that is satisfying. The manga explains that Satoru can rerun moments of time backwards sometimes of his choosing. In the anime, his ability is known as revival where it occurs through a situation that leads to tragedy. In the manga, chapter 3 explores this in detail when Katagiri Airi and he discover a building getting torn down and Satoru has a rerun. He knows something is off and discovers a child stuck in an elevator shaft. After saving the child’s life he discovers that Katagiri’s first name is Airi and they call each other on a first name basis after the incident. In the anime this entire scene is completely removed resulting in a lack of characterization for Airi. And still the anime captured even Airi’s moments nicely. Using her as Satoru’s push forward in the middle of this story worked–Satoru can lean on his friends for help. IF it wasn’t for her punch scene with the manager and the entire fire sequence I don’t think Satoru would have leaned on his friends, especially Kenya, as much as he did in the second half of Boku Machi.

OVERALL IMPRESSION: 93/100

On a side note I thought I’d share some upcoming events my anime club is having. If anyone is interested in helping out with my events please contact me.

We’ve seen this many times before. Narsus outwits Arslan’s enemies and this episode wasn’t much different on that front. There needs to be more personal dilemma for Narsus rather than an over-powered strategist, some kind of slip-up needs to happen to build his character out better. I say this because Narsus is yet again faced with overwhelming odds and still manages to come out on top. Rajendra has 50,000 soldiers and Gadevi has 150,000 men including drugged war-elephants.

Narsus thinks ahead by misleading Gadevi, pulling his soldiers out of Gujarat leaving behind dummy soldiers (literally) for them to square off against. It takes a turn for the better when Rajendra, haven’t being told of the plan, is caught by surprise when his army shows up to battle Gadevi. It’s great to see that the plan isn’t being told to us in plain view and even, we are surprised by how Narsus’ strategic skills are put to use in a battle with two other armies. The tactics used in this were fantastic, however, unlike the first few episodes there wasn’t too much tension developed.

This is where I want to mention that the director on this series is Noriyuki Abe, the general director of BLEACH. While, BLEACH was known for information drops right before a battle, revealing a plan to an enemy even way before it occurs. This was problem for this show however Arslan Senki steers (for the most part) clear from that (for now) and designs a wonderfully written set-up to its battles especially in this episode. Too bad the tension and the animation aren’t polished–tons of heavy action scenes detracted away from the importance of this battle.

The aftermath of the battle with Gadevi also portrays quite a vicious image of him. He’s ready to execute Jaswant before the Vizer steps in and this alludes to how Arlsan is viewed by the company that he keeps. Jaswant notices the difference in how Arslan treats his loyal subjects as opposed to Gadevi. It this entire scene that explores how immature Rajendra and Gadevi’s sibling squabble is. Making matters worse is when the old king, Karikala wakes up and isn’t too pleased to hear his sons are bickering, costing thousands of soldiers’ lives. Given the situation it makes sense, during these times, that there would be a duel before the Gods. Using Daryun for this battle is just a small piece for Arslan understanding himself, his allies, and the world accepting him as the future of Pars.

I remember how spectacular Zankyou no Terror‘s premiere was. Full of dramatic action and sequences that left me wanting so much more from a 25 minute episode run-time. This was the case with 91 Days. A revenge story about a young man Angelo Lagusa vows to take a revenge on the family that murdered his own. Script writer, Taku Kishimoto nailed the human relationships in this first episode wonderfully. For the first few minutes we are gently brought into the drama surrounding Angelo and his curiosity towards the Vanetti family. He receives a picture of his younger brother claiming that the Vanetti family is in the town of Lawless.

The first ten minutes of this episode as beautifully written, incredibly drawn and the camera angles were a stylistic choice that comes off like you’re watching a high-budget 1920’s crime film. Angelo’s brother Luce Lagusa and his friend Corteo playing with the candle are a small piece of what makes 91 Days a step up above many shows that are airing this summer season. Shogo Kaida handles the music in this anime and I’ve got to say I’m impressed. The use of strings during the murder scene weaves together nicely between shots of the kids looking through the crack of the closet doors witnessing the traumatic event unfolding. I also love the slow-motion effects the creators decided on using–Testa slashing at Vincente Vanetti to Luce running out of the closet to a well-lit room to save his mother. The framing in this was spectacular! Three Vanetti members were involved in the killing of his mother, father and brother and it creates potential in developing these characters further when (or if) we are introduced to them in some way or another.

An original story and I’m glad to see a newer studio tackle it too–they produced the previous Durararax2 Shou and Ketsu seasons so I can clearly see where their budget was being used on. It was for this. The lighting between many dark scenes of the house and landscape of the woods fit together. I’m glad they decided on a TV route for this rather than a feature-length film. So much story is involved! Hopefully, they will make this longer than 1-cour (91 episodes is wishful thinking).

After the murder scene we are treated to an introduction reminiscent of the Godfather films that sets the tone and atmosphere of a 1920’s world. Also this acts as a gradual build in time jump that begins Angelo’s revenge on the Vanetti’s. Creteo being a moonshiner was a nice choice. It reminds us of the time this series is set in and opens up a door for Angelo to get involved with a ragtag team of bootleggers that turn out to be none other than Nero Vanetti himself, one of the men that helped with murdering the Lagusa family!

After that cliffhanger I would not have expected such a long wait on the finale. Three and half months later (October 3rd) the conclusion to this incredible supernatural series finally airs! The cause for the delay was because BONES originally intended on this finale to be longer than a thirty minute time-slot permits. Finding a broadcaster to air it can be problematic due to other series and programs signing for a specific time-slot, from weeks prior to even months ahead of air time. Typically, anime studios will delay an episode due to not finishing the animation in time. I would imagine that would cost them an additional fee or a recap episode. Now I can see why a recap episode was paramount to production. The question is does this long hiatus bode well for Kekkai Sensen‘s ending or does this tone down the excitement?

This had to be one of the best endings of 2015–BONES utilizing all of that extra time certainly paid off. Six animation supervisors, four assistant episode directors, 58 key animators, and 24 2nd key animators. Delivering jaw-dropping visuals throughout the entire 46 minute runtime! There wasn’t a single frame that contained a drop in quality! Terrific music including classical music references throughout. On a delivery front, the music was chosen wisely. The build up is strong from the first half! Showcasing at least the first five minutes or so of “Polovtsian Dances” from Alexander Borodin’s opera “Prince Igor”. Providing an emotionally-charged collection of scenes in order to build up Libra’s fight throughout the city and Klaus’ battle against the King of Despair.

Kekkai Sensen blew my expectations out of the water with this episode! Instead of adding in extraneous sub-plots to re-introduce Hellsalem’s Lot after a near 4-month absence the creators committed to the ending they intended on from the get-go. A story about love and peace [an honest homage to Trigun].

Mary and William were loved by their parents, that when the Great Collapse occurred they set up a barrier inside of White (Mary). Tragically we know now that she had actually died from the collapse and explains why throughout this series she can’t ever go outside Hellsalem’s Lot. This is where William comes in; why he wanted to keep her close inside the hospital at all times. The King of Despair’s presence explains why White betray’s Leonardo, offers the all-seeing Eyes of the Gods. Despair [inside of Black] shooting White in the chest removes any barrier that is left protecting the city is further indication that White knew exactly what and who she was from the very beginning that she met Leonardo. A nice tie-in to the first episode’s conclusion!

I wish they’d have given an episode focused solely on Chain Sumeragi. Her interactions with the rest of the cast are humors and it’d be great to see her backstory.

Remember the God of Chow back in episode 10? If you’ve been paying attention you’ll notice how Leo can perceive the dead. The finale, here, highlights this point and puts it right in front of us to understand that he’s more than just an ordinary guy. He’s something special and more a part of Libra than he ever has been before!

While this episode concludes White and Black’s story it does a fine job establishing that Leo’s story within Hellsalem’s Lot isn’t over. It is only just beginning. Both Leo and Black have confronted reality due to the choices they’ve made. A city that is between two worlds with varied aliens and humans living amongst the main cast shows how important the characterization in these series needed to be. As devastating it was to lose White for both of these men; this moment in the final scenes of Kekkai Sensen allows for them to become more human than they ever have before.

Rie Matsumoto is a spectacular director. She clearly is a fan of the old days of Japanese anime–Kyousougiga was loaded with a variety of colorful visual elements! The direction she chooses is spastic and very inventive. She came up with the story of White and Black for Kekkai Sensen and original creator Nightow oversaw the project! Her style has a similar fashion to GAINAX’s first few animated works especially Gurren Lagann. Also, I’d say that Kekkai Sensen is very reminiscent of Cutie Honey’s three-episode OAV opening sequence, how characters are introduced on-screen and how they interact with the world around them!

I believe this is one of the best anime narratives in recent years. They took an original adaptation and created a faithful interpretation based on Yasuhiro Nightow’s original manga. After seeing this, I’d like to see her adapt either Warainaku’s Keyman-The Hand of Judgment or re-adapt Atsushi Ōkubo’s Soul Eater.